The Irish Race in the Past and the Present Part 4

The number of those books was so great that the authentic list of them far surpa.s.ses in length what has been preserved of the old Greek and Latin writers. It is true that they have all been saved and transmitted to us by Christian Irishmen of the centuries intervening between the sixth and sixteenth; but it is also perfectly true that whatever was handed down to us by Irish monks and friars came to them from the genuine source, the primitive authors, as our own monks of the West have preserved to us all we know of Greek and Latin authors.

So that the question so long decided in the negative, whether the Irish knew handwriting prior to the Christian era and the coming of St. Patrick, is no longer a question, now that so much is known of their early literature. St. Patrick and his brother monks brought with them the Roman characters and the knowledge of numerous Christian writers who had preceded him; but he could not teach them what had happened in the country before his time, events which form the subject-matter of their annals, historical and imaginative tales and poems. For the Christian authors of Ireland subsequently to transmit those facts to us, they must evidently have copied them from older books, which have since perished.

Prof. E. Curry thinks that the Ogham characters, so often mentioned in the most ancient Irish books, were used in Erin long before the introduction of Christianity there. And he strengthens his opinion by proofs which it is difficult to contradict. Those characters are even now to be seen in some of the oldest books which have been preserved, as well as on many stone monuments, the remote antiquity of which cannot be denied. One well-authenticated fact suffices, however, to set the question at rest: "It is quite certain," says E. Curry, "that the Irish Druids and poets had written books before the coming of St. Patrick in 432; since we find THAT VERY STATEMENT in the ancient Gaelic Tripart.i.te life of the Saint, as well as in the "Annotations of Tirechan" preserved in the Book of Armagh, which were taken by him (Tirechan) from the lips and books of his tutor, St. Mochta, who was the pupil and disciple of St. Patrick himself."

What Caesar, then, states of the Druids, that they committed every thing to memory and used no books, is not strictly true. It must have been true only with regard to their mode of teaching, in that they gave no books to their pupils, but confined themselves to oral instruction.

The order of Ollamh comprised various sub-orders of learned men.

And the first of these deserving our attention is the cla.s.s of "Seanchaidhe," p.r.o.nounced Shanachy. The ollamh seems to have been the historian of the monarch of the whole country; the shanachy had the care of provincial records. Each chieftain, in fact, down to the humblest, had an officer of this description, who enjoyed privileges inferior only to those of the ollamh, and partook of emoluments graduated according to his usefulness in the state; so that we can already obtain some idea of the honor and respect paid to the national literature and traditions in the person of those who were looked upon in ancient times as their guardians from age to age.

The shanachies were also bound to prove for themselves the moral qualifications of the ollamhs.1

(1 "Purity of hand, bright without wounding, Purity of mouth, without poisonous satire, Purity of learning, without reproach, Purity of husbands.h.i.+p, in marriage."

Many of these details and the following are chiefly derived from Prof. E. Curry --(Early Irish Ma.n.u.scripts.) )

A shanachy of any degree, who did not preserve these "purities,"

lost half his income and dignity, according to law, and was subject to heavy penalties besides.

According to McFirbis, in his book of genealogies, "the historians were so anxious and ardent to preserve the history of Erin, that the description they have left us of the n.o.bleness and dignified manners of the people, should not be wondered at, since they did not refrain from writing even of the undignified artisans, and of the professors of the healing and building arts of ancient times --as shall be shown below, to prove the fidelity of the historians, and the errors of those who make such a.s.sertions, as, for instance, that there were no stone buildings in Erin before the coming of the Danes and Anglo-Normans.

"Thus saith an ancient authority: 'The first doctor, the first builder, and the first fisherman, that were ever in Erin were--

Capa, for the healing of the sick, In his time was all-powerful; And Luasad, the cunning builder, And Laighne, the fisherman.'"

So speaks McFirbis in his quaint and picturesque style.

The literature of the Celts was, therefore, impressed with the character of realistic universality, which has been the great boast of the romantic school. It did not concern itself merely with the great and powerful, but comprised all cla.s.ses of people, and tried to elevate what is of itself undignified and common in human society. This is no doubt the meaning of the quotation just cited.

Among the Celts, then, each clan had his historian to record the most minute details of every-day history, as well as every fact of importance to the whole clan, and even to the nation at large; and thus we may see how literature with them grew naturally out of their social system. The same may not appear to hold good at first sight with the other cla.s.ses of literary men; yet it would be easy to discover the link connecting them all, and which was always traditional or matter-of-fact, if we may use that expression.

The next SUB-ORDER was that of File, which is generally translated poet, but its meaning also involves the idea of philosophy or wisdom added to that of poetry.

The File among the Celts was, after all, only an historian writing in verse; for all their poetry resolved itself into annals, "poetic narratives" of great events, or finally "ballads."

It is well known that among all nations poetry has preceded prose; and the first writers that appeared anywhere always wrote in verse.

It seems, therefore, that in Celtic tribes the order of File was anterior in point of time to that of Shanachy, and that both must have sprung naturally from the same social system. Hence the monarch of the whole nation had his poets, as also the provincial kings and every minor chieftain.

In course of time their number increased to such an extent in Ireland, that at last they became a nuisance to be abated.

"It is said that in the days of Connor McNa.s.sa--several centuries before Christ--there met once 1,200 poets in one company; another time 1,000, and another 700, namely, in the days of Aedh McAinmire and Columcille, in the sixth century after our Saviour. And between these periods Erin always thought that she had more of learned men than she wanted; so that from their numbers and the tax their support imposed upon the public, it was attempted to banish them out of Erin on three different occasions; but they were detained by the Ultonians for hospitality's sake. This is evident from the Amhra Columcille (panegyric of St. Columba). He was the last that kept them in Ireland, and distributed a poet to every territory, and a poet to every king, in order to lighten the burden of the people in general. So that there were people in their following, contemporary with every generation to preserve the history and events of the country at this time. Not these alone, but the kings, and, saints, and churches of Erin preserved their history in like manner."

From this curious pa.s.sage of McFirbis, it is clear that the Celtic poets proposed to themselves the same object as the historians did; only that they wrote in verse, and no doubt allowed themselves more freedom of fancy, without altering the facts which were to them of paramount importance.

McFirbis, in the previous pa.s.sage, gives us a succinct account of the action of Columbkill in regard to the poets or bards of his time. But we know many other interesting facts connected with this event, which must be considered as one of the most important in Ireland during the sixth century. The order of poets or bards was a social and political inst.i.tution, reaching back in point of time to the birth of the nation, enjoying extensive privileges, and without which Celtic life would have been deprived of its warmth and buoyancy. Yet Aed, the monarch of all Ireland, was inclined to abolish the whole order, and banish, or even outlaw, all its members. Being unable to do it of his own authority, he thought of having the measure carried in the a.s.sembly of Drumceit, convened for the chief purpose of settling peacefully the relations of Ireland with the Dalriadan colony established in Western Scotland a hundred years before. Columba came from Iona in behalf of Aidan, whom he had crowned a short time previously as King of Albania or Scotland. It seems that the bards or poets were accused of insolence, rapacity, and of selling their services to princes and n.o.bles, instead of calling them to account for their misdeeds.

Columba openly undertook their defence in the general a.s.sembly of the nation. Himself a poet, he loved their art, and could not consent to see his native country deprived of it. Such a deprivation in his eyes would almost have seemed a sacrilege.

"He represented," says Montalembert, "that care must be taken not to pull up the good corn with the tares, that the general exile of the poets would be the death of a venerable antiquity, and of that poetry so dear to the country, and so useful to those who knew how to employ it. The king and a.s.sembly yielded at length, under condition that the number should be limited, and their profession laid under certain rules."

Dallan Fergall, the chief of the corporation, composed his "Amhra,"

or Praise of Columbkill, as a mark of grat.i.tude from the whole order. That the works of Celtic poets possessed real literary merit, we have the authority of Spenser for believing. The author of the "Faerie Queene" was not the friend of the Irish, whom he a.s.sisted in plundering and destroying under Elizabeth. He could only judge of their books from English translations, not being sufficiently acquainted with the language to understand its niceties. Yet he had to acknowledge that their poems "savoured of sweet wit and good invention, but skilled not of the goodly ornaments of poetry; yet were they sprinkled with some pretty flowers of their natural device, which gave good grace and comeliness to them."

He objected, it is true, to the patriotism of their verse, and pretended that they "seldom choose the doings of good men for the argument of their poems," and became "dangerous and desperate in disobedience and rebellious daring." But this accusation is high praise in our eyes, as showing that the Irish bards of Spenser's time praised and glorified those who proved most courageous in resisting English invasion, and stood firmly on the side of their race against the power of a great queen.

A poet, it seems, required twelve years of study to be master of his art. One-third of that time was devoted to practising the "Teinim Laegha," by which he obtained the power of understanding every thing that it was proper for him to speak of or to say. The next third was employed in learning the "Imas Forosnadh," by which he was enabled to communicate thoroughly his knowledge to other pupils. Finally, the last three years were occupied in "Dichedal,"

or improvisation, so as to be able to speak in verse on all subjects of his study at a moment's notice.

There were, it appears, seven kinds of verse; and the poet was bound to possess a critical knowledge of them, so as to be a judge of his art, and to p.r.o.nounce on the compositions submitted to him.

If called upon by any king or chieftain, he was required to relate instantly, seven times fifty stories, namely, five times fifty prime stories, and twice fifty secondary stories.

The prime stories were destructions and preyings, courts.h.i.+ps, battles, navigations, tragedies or deaths, expeditions, elopements, and conflagrations.

All those literary compositions were historic tales; and they were not composed for mere amus.e.m.e.nt, but possessed in the eyes of learned men a real authority in point of fact. If fancy was permitted to adorn them, the facts themselves were to remain unaltered with their chief circ.u.mstances. Hence the writers of the various annals of Ireland do not scruple to quote many poems or other tales as authority for the facts of history which they relate.

And such also was heroic poetry among the Greeks. The h.e.l.lenic philosophers, historians, and geographers of later times always quoted Homer and Hesiod as authorities for the facts they related in their scientific works. The whole first book of the geography of Strabo, one of the most statistical and positive works of antiquity, has for its object the vindication of the geography of Homer, whom Strabo seems to have considered as a reliable authority on almost every possible subject.

Our limits forbid us to speak more in detail of Celtic historians and poets. We have said enough to show that both had important state duties to perform in the social system of the country, and, while keeping within due bounds, they were esteemed by all as men of great weight and use to the nation. Besides the field of genealogy and history allotted to them to cultivate, their very office tended to promote the love of virtue, and to check immorality and vice.

They were careful to watch over the acts and inclinations of their princes and chieftains, seldom failing to brand them with infamy if guilty of crimes, or crown them with honor when they had deserved well of the nation. In ancient Egypt the priests judged the kings after their demise; in Celtic countries they dared to tell them the truth during their lifetime. And this exercised a most salutary effect on the people; for perhaps never in any other country did the admiration for learning, elevation of feeling, and ardent love of justice and right, prevail as in Ireland, at least while enjoying its native inst.i.tutions and government.

From many of the previous details, the reader will easily see That the literature of the Celts presented features peculiar to Their race, and which supposed a mental const.i.tution seldom found among others. If, in general, the world of letters gives expression In some degree to social wants and habits, among the Celts this expression was complete, and argued a peculiar bent of mind given entirely to traditional lore, and never to philosophical speculations and subtlety. We see in it two elements remarkable for their distinctness. First, an extraordinary fondness for facts and traditions, growing out of the patriarchal origin of society among them; and from this fondness their mind received a particular tendency which was averse to theories and utopias. All things resolved themselves into facts, and they seldom wandered away into the fields of conjectural conclusions. Hence their extraordinary adaptation to the truths of the Christian religion, whose dogmas are all supernatural facts, at once human and divine. Hence have they ever been kept free from that strange mental activity of other European races, which has led them into doubt, unbelief, skepticism, until, in our days, there seem to be no longer any fixed principles as a substratum for religious and social doctrines.

Secondly, we see in the Celtic race a rare and unique outburst of fancy, so well expressed in the "_Senchus Mor_," their great law compilation, wherein it is related, that when St. Patrick had completed the digest of the laws of the Gael in Ireland, Dubtach, who was a bard as well as a brehon, "put a thread of poetry round it." Poetry everywhere, even in a law-book; poetry inseparable from their thoughts, their speech, their every-day actions; poetry became for them a reality, an indispensable necessity of life. This feature is also certainly characteristic of the Celtic nature.

Hence their literature was inseparable from art; and music and design gushed naturally from the deepest springs of their souls.

Music has always been the handmaid of Poetry; and in our modern languages, even, which are so artificial and removed from primitive enthusiasm and naturalness, no composer of opera would consent to adapt his inspirations to a prose _libretto_. It was far more so in primitive times; and it maybe said that in those days poetry was never composed unless to be sung or played on instruments. But what has never been seen elsewhere, what Plato dreamed, without ever hoping to see realized, music in Celtic countries became really a state inst.i.tution, and singers and harpers were necessary officers of princes and kings.

That all Celtic tribes were fond of it and cultivated it thoroughly we have the a.s.sertion of all ancient writers who spoke of them.

According to Strabo, the Third order of Druids was composed of those whom he calls _Umnetai_. What were their instruments is not mentioned; and we can now form no opinion of their former musical taste from the rude melodies of the Armoricans, Welsh, and Scotch.

From time immemorial the Irish Celts possessed the harp. Some authors have denied this; and from the fact that the harp was unknown to the Greeks and Romans, and that the Gauls of the time of Julius Caesar do not seem to have been acquainted with it, they conclude that it was not purely native to any of the British islands.

But modern researches have proved that it was certainly used in Erin under the first successors of Ugaine Mor, who was monarch.

--Ard-Righ--about the year 633 before Christ, according to the annals of the Four Masters. The story of Labhraid, which seems perfectly authentic, turns altogether on the perfection with which Craftine played on the harp. From that time, at least, the instrument became among the Celts of Ireland a perpetual source of melody.

To judge of their proficiency in its use, it is enough to know to what degree of perfection they had raised it. Mr. Beauford, in his ingenious and learned treatise on the music of Ireland, as cultivated by its bards, creates genuine astonishment by the discoveries into which his researches have led him.

The extraordinary attention which they paid to expression and effect brought about successive improvements in the harp, which at last made it far superior to the Grecian lyre. To make it capable of supporting the human voice in their symphonies, they filled up the intervals of the fifths and thirds in each scale, and increased the number of strings from eighteen to twenty-eight, retaining all the original chromatic tones, but reducing the capacity of the instrument; for, instead of commencing in the lower E in the ba.s.s, it commenced in C, a sixth above, and terminated in G in the octave below; and, in consequence, the instrument became much more melodious and capable of accompanying the human voice. Malachi O'Morgair, Archbishop of Armagh, introduced other improvements in it in the twelfth century. Finally, in later times, its capacity was increased from twenty-eight strings to thirty-three, in which state it still remains.

As long as the nation retained its autonomy, the harp was a universal instrument among the inhabitants of Erin. It was found in every house; it was heard wherever you met a few people gathered together. Studied so universally, so completely and perfectly, it gave Irish music in the middle ages a superiority over that of all other nations. It is Cambrensis who remarks that "the attention of these people to musical instruments is worthy of praise, in which their skill is, beyond comparison, superior to any other people; for in these the modulation is not slow and solemn, as in the instruments of Britain, but the sounds are rapid and precipitate, yet sweet and pleasing. It is extraordinary, in such rapidity of the fingers, how the musical proportions are preserved, and the art everywhere inherent among their complicated modulations, and the mult.i.tude of intricate notes so sweetly swift, so irregular in their composition, so disorderly in their concords, yet returning to unison and completing the melody."

Giraldus could not express himself better, never before having heard any other music than that of the Anglo-Normans; but it is clear, from the foregoing pa.s.sage, that Irish art surpa.s.sed all his conceptions.

The universality of song among the Irish Celts grew out of their nature, and in time brought out all the refinements of art. Long before Cambrensis's time the whole island resounded with music and mirth, and the king-archbishop, Cormac McCullinan, could not better express his grat.i.tude to his Th.o.m.ond subjects than by exclaiming--

"May our truest fidelity ever be given To the brave and generous clansmen of Tal; And forever royalty rest with their tribe, And virtue and valor, and music and song!"